Kovels Antiques & Collecting: Week of May 12, 2014

A faux bamboo finish was created for this late 19th-century American folding chair. Useful and decorative folding chairs in this style were made using both real or fake bamboo. This chair sold for $180 at Neal Auction Co. sale in New Orleans last year.
A faux bamboo finish was created for this late 19th-century American folding chair. Useful and decorative folding chairs in this style were made using both real or fake bamboo. This chair sold for $180 at Neal Auction Co. sale in New Orleans last year.
A faux bamboo finish was created for this late 19th-century American folding chair. Useful and decorative folding chairs in this style were made using both real or fake bamboo. This chair sold for $180 at Neal Auction Co. sale in New Orleans last year.

BEACHWOOD, Ohio – Expensive woods like teak or mahogany, marble, stone and other materials used to make expensive furniture are often imitated by a painted surface. Faux finishes have been used since the days of ancient Egypt. The Greeks and Romans admired murals that were examples trompe l’oiel (fool-the-eye) paintings.

Life-size objects on tables, half-open doors, stairways and furnishings included in these paintings looked real. The tradition of faux finishes experienced a resurgence in the 19th century. A major Civil War monument with an interior of pink marble walls was restored a few years ago. It was discovered during the restoration that the monument’s walls were actually made of white marble painted with a faux finish that made the wall look like expensive pink marble. No doubt it was done to save money – and it was so well done it fooled the public.

Inexpensive wood used to make furniture has been painted to resemble mahogany, bamboo, teak, bird’s-eye maple or just decorative graining. Tabletops were “improved” with a faux marble finish. Talented artists also painted tops with what looked like multicolored mosaic designs.

Bamboo furniture was the rage in the early 1800s. Bamboo was hard to get in Europe and the United States, so Chinese-style furniture was made with wooden parts shaped like bamboo, then painted with trompe l’oiel graining. The wooden parts were stronger than real bamboo, so the faked parts often were an improvement.

The tradition of painted furniture has continued, and collectors pay a premium for American “grained wood” country pieces made from 1850 until about 1880. But the finish must be original and in good condition.

Q: Can you tell me if the old Franciscan earthenware pattern named Sierra Sand contains lead?

A: Franciscan china was fired at high temperatures and is safe, but you can buy a lead-testing kit at a hardware store or online and test it yourself to see if the glaze contains lead. Lead-free glazes have been required on dinnerware sold in the United States since the 1980s. But glazes may contain some lead and still be considered “lead free,” according to U.S. Food and Drug Administration guidelines. If the pottery was fired at the correct temperature for the right amount of time, the lead fuses to the pottery and does not leach off. While your Franciscan dishes are safe, watch out for any pottery made in Mexico or China, handcrafted pottery, pieces that are highly decorated or have decorations painted over the glaze, and pottery with orange, red or yellow glaze.

Q: An uncle in Ireland gave us an old clock. The inscription on the face of the clock is “Lepaute, Hger Du Roi.” It has Roman numerals for the hours and Arabic numerals for the minutes. Do you have any idea how old the clock is and what it might be worth?

A: The Lepautes were master clockmakers in the 18th century. Jean-Andre Lepaute (1720-1789) began making clocks in Paris in about 1740. He specialized in large clocks for public installations and invented several improvements to clocks. He was a “Horloger du Roi,” a clockmaker to the king, by 1751. His brother, Jean-Baptiste (1727-1802), joined him in business in 1759 and became head after Jean-Andre retired in 1774. After Jean-Baptiste died, his nephews ran the business for several years. Some clocks by Lepaute sell for several thousand dollars. Your clock would need to be seen by an expert to determine its value. A famous 1765 mantel clock has auctioned for $111,462.

Q: My father found a metal Coca-Cola serving tray in the attic of a railroad depot being torn down in Fayette, Mo., in the early 1980s. It has been hanging in my parents’ home ever since. I have tried researching it but haven’t had any luck. The tray is rectangular and 24 by 34 inches. It has a green border surrounding a red inner border. In the center is a picture of a woman in a white gown wearing a tiara and holding an open black fan. Her right elbow is resting on an elaborate pedestal with flowers on it. The words on the tray are: “Delicious, Refreshing, Drink Coca-Cola, At Fountains 5 cents, In Bottles 5 cents.” Can you help?

A: Your tray is a reproduction that dates from the late 1960s or ’70s. The woman pictured is Lillian Nordica (1857-1914), a famous American opera singer. Coca-Cola used her image on oval serving trays in 1905. A 1975 tray similar to yours, but with a bottle of Coke on the pedestal was made to celebrate the 75th anniversary of an Atlanta bottler. That tray, with a history printed on the back, sells for about $20 today. Other trays like yours have a glass of Coke on the pedestal. Many authorized and unauthorized reproduction and “fantasy” Coca-Cola trays (a fantasy tray uses an old image but doesn’t copy a vintage tray) have been made since the 1970s. They sell for $5 to $75, depending on quality, condition, rarity and whether or not the tray was authorized by the company or a bottler.

Tip: Re-glue a doll’s wig with rubber cement. It’s removable if you later want to change the wig.

Sign up for our free weekly email, “Kovels Komments.” Terry writes about the latest news, tips and questions and her views of the market. If you register on our website, there is no charge.

Terry Kovel and Kim Kovel answer questions sent to the column. By sending a letter with a question, you give full permission for use in the column or any other Kovel forum. Names, addresses or email addresses will not be published. We cannot guarantee the return of photographs, but if a stamped envelope is included, we will try. The amount of mail makes personal answers or appraisals impossible. Write to Kovels, Auction Central News, King Features Syndicate, 300 W. 57th St., New York, NY 10019.

CURRENT PRICES

Current prices are recorded from antiques shows, flea markets, sales and auctions throughout the United States. Prices vary in different locations because of local economic conditions.

  • Hull planter, white Siamese cat and kitten at rest, green paws base, 12 inches, $40.
  • Popeye Pez dispenser, blue base, 4 inches, $45.
  • Dog dish, Hudson’s Soap ad, cast iron, white, black paint, circa 1910, 16 inches, $155.
  • Capo-de-Monte pitcher, man-on-the-mountain handle, painted cherubs, 16 inches, $210.
  • Old Salt bookends, Cape Cod fishermen, cast iron, painted, Connecticut Foundry Co., 1928, 5 1/2 inches, $210.
  • Neoclassical-style chair, beech, needlepoint upholstery, carved arms and frame, pair, $530.
  • Firehouse toy, wood, painted, faux stone exterior, two stories, two doors, 30 x 37 inches, $565.
  • Music box, Concerta, interchangeable cylinder, burled panel inlay, three cylinders, Ideal, 31 x 16 inches, $595.
  • Tiger-skull smoking set, silver mounting, applied insets, Siam, 10 x 13 inches, $1,295.
  • Keynoil Motor Oil can, metal, White Eagle Oil & Refining Co., 1 gallon, $1,300.

The Kovels have navigated flea markets for decades. Learn from the best. Kovels Flea Market Strategies: How to Shop, Buy and Bargain the 21st Century Way, by Terry Kovel and Kim Kovel, tells you about the latest smartphone apps and websites to help you shop, share and ship. It also clues you in about what to wear, what to bring and, most important, how to negotiate your way to a bargain. Also find tips on spotting fakes, advice about paying for your purchases, and shipping suggestions. Full-color booklet, 17 pages, 8 1/2 by 5 1/2 in. Available only from Kovels for $7.95 plus $4.95 postage and handling. Order by phone at 800-303-1996; online at Kovels.com; or mail to Kovels, Box 22900, Beachwood, OH 44122.

© 2014 by Cowles Syndicate Inc.


ADDITIONAL IMAGE OF NOTE


A faux bamboo finish was created for this late 19th-century American folding chair. Useful and decorative folding chairs in this style were made using both real or fake bamboo. This chair sold for $180 at Neal Auction Co. sale in New Orleans last year.
A faux bamboo finish was created for this late 19th-century American folding chair. Useful and decorative folding chairs in this style were made using both real or fake bamboo. This chair sold for $180 at Neal Auction Co. sale in New Orleans last year.

Kingpin of major French art heist says he was framed

Monet's 'Cliffs Near Dieppe,' which was recoverd in Marseille, France. Image courtesy of Wikipaintings.org.
Monet's 'Cliffs Near Dieppe,' which was recoverd in Marseille, France. Image courtesy of Wikipaintings.org.
Monet’s ‘Cliffs Near Dieppe,’ which was recoverd in Marseille, France. Image courtesy of Wikipaintings.org.

AIX-EN-PROVENCE, France, (AFP) – The presumed mastermind of a brazen art theft from a French Riviera museum involving four paintings by Monet, Sisley and Breughel denied any role as he went on trial on Monday.

The Miami-based Bernard Ternus, who is in his 60s, was sentenced in the United States to five years in prison in 2008 over the theft at Nice’s Jules Cheret museum a year earlier.

Transferred to France last year after serving his sentence, Ternus – who is being held in custody – told the court in Aix-en-Provence in southern France that he had been framed.

He was caught after being approached by two men who said they were looking for paintings by Dutch masters. Ternus claimed it was an FBI sting operation.

“I was manipulated, I have never in my life asked anyone to steal paintings,” he told the court.

The paintings were recovered in the southern city of Marseille. They include Cliffs near Dieppe by Claude Monet, The Lane of Polars at Moret by Alfred Sisley, Allegory of Water and Allegory of Earth by Jan Brueghel the Elder.

Ternus said a mysterious Frenchman, who had helped him settle in the United States, had asked him to get some paintings. He said the manner was at first insistent and then turned threatening.

Five men who were arrested in 2008 after a sting operation involving famed FBI art crimes investigator Robert Wittman were sentenced to between two and nine years in December 2011 by a French court.

The thieves broke into the gallery dressed as cleaners and staged the brazen heist during lunchtime on Aug. 5, 2007, making off with the paintings in 5 minutes.

The trial runs until Wednesday.


ADDITIONAL IMAGE OF NOTE


Monet's 'Cliffs Near Dieppe,' which was recoverd in Marseille, France. Image courtesy of Wikipaintings.org.
Monet’s ‘Cliffs Near Dieppe,’ which was recoverd in Marseille, France. Image courtesy of Wikipaintings.org.

WestLicht’s May 23 auction focuses on 100 Years of Leica

Leica MP black paint, no. MP-99, 1957, in almost mint and original, never restored condition, with matching Leicavit MP and black paint Summicron 2/5cm no.1468952. Estimate: 250,000 - 300,000 euros. Westlicht image.

Leica MP black paint, no. MP-99, 1957, in almost mint and original, never restored condition, with matching Leicavit MP and black paint Summicron 2/5cm no.1468952. Estimate: 250,000 - 300,000 euros. Westlicht image.

Leica MP black paint, no. MP-99, 1957, in almost mint and original, never restored condition, with matching Leicavit MP and black paint Summicron 2/5cm no.1468952. Estimate: 250,000 – 300,000 euros. Westlicht image.

VIENNA – To mark the 100th anniversary of the Leica camera, WestLicht, the world’s leading auction house for cameras, will present, in association with the Leica Camera AG, a special auction of iconic of cameras and photography on May 23.

LiveAuctioneers.com will provide Internet live bidding for the 200-lot sale.

“Lilliput camera with cine film finished.” With this entry by Oskar Barnack in the workshop logbook of the famous Leitz factory’s optical plant in Wetzlar, dated March 1914, the history of Leica began 100 years ago.

In 2014 the company Leica Camera AG celebrates this anniversary by inaugurating the new Leitz Park in Wetzlar, the location where everything began.

WestLicht will present 100 rare treasures from every epoch of technical development of the Leitz history, impressively demonstrating the entire innovative potential of Leica. Beginning with a telescope built by Carl Kellner, the precursor company of Leitz, in 1852, to rarities like the Leica I A with Anastigmat lens, the Luxus Leica, the Leica 250 with electric motor drive, the black Leica MP, to cameras owned by famous Magnum photographers.

Additionally, 100 photography lots throw an impressive light on the oeuvre of famous Leica photographers. Many of these images have long become part of our collective memory and visual landmarks of history. Rare vintage prints by Oskar Barnack, Lothar Rübelt, Henri Cartier-Bresson, Marc Riboud, René Burri, David Douglas Duncan, Thomas Hoepker, Inge Morath, Chris Steele Perkins, F.C. Gundlach, Elliott Erwitt, Ulrich Mack, Josef Koudelka and many others have been assembled for the catalog by curator Michael Koetzle.

The exclusive catalog (432 pages, hardcover, with texts by renowned authors and experts) has also been published in a special edition of 100 numbered and signed copies and can be ordered from WestLicht.

For questions about any item in the sale, email: 100years-auction@westlicht.com.

View the fully illustrated online catalog and sign up to bid absentee or live via the Internet at www.LiveAuctioneers.com.

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View the fully illustrated catalog and register to bid absentee or live via the Internet as the sale is taking place by logging on to www.LiveAuctioneers.com.


ADDITIONAL LOTS OF NOTE


Leica MP black paint, no. MP-99, 1957, in almost mint and original, never restored condition, with matching Leicavit MP and black paint Summicron 2/5cm no.1468952. Estimate: 250,000 - 300,000 euros. Westlicht image.

Leica MP black paint, no. MP-99, 1957, in almost mint and original, never restored condition, with matching Leicavit MP and black paint Summicron 2/5cm no.1468952. Estimate: 250,000 – 300,000 euros. Westlicht image.

Carl Kellner, Wetzlar telescope, circa 1852, with original stand. The earliest known example of a product of the workshop which turned into the Leitz Co. in 1869. Estimate: 50,000 - 60,000 euros. Westlicht image.

Carl Kellner, Wetzlar telescope, circa 1852, with original stand. The earliest known example of a product of the workshop which turned into the Leitz Co. in 1869. Estimate: 50,000 – 60,000 euros. Westlicht image.

Leica I Model A Anastigmat, no. 239, 1925. The earliest version of the first serial production Leica, in rare original condition, complete with the first case, rangefinder and accessories. Estimate: 70,000 - 80,000 euros. Westlicht image.

Leica I Model A Anastigmat, no. 239, 1925. The earliest version of the first serial production Leica, in rare original condition, complete with the first case, rangefinder and accessories. Estimate: 70,000 – 80,000 euros. Westlicht image.

Leica II Model D Luxus, no. 98248, 1933, rare gold-plated Luxus Leica with reptile leather covering. Estimate: 250,000 - 300,000 euros. Westlicht image.

Leica II Model D Luxus, no. 98248, 1933, rare gold-plated Luxus Leica with reptile leather covering. Estimate: 250,000 – 300,000 euros. Westlicht image.

F.C. Gundlach (* 1926), 'Nino – Harbour Hamburg,' 1958, vintage silver print, 39.7 x 29.7 cm, signed and annotated by the photographer in pencil on the reverse. Estimate:  5,000 - 6,000 euros. Westlicht image.

F.C. Gundlach (* 1926), ‘Nino – Harbour Hamburg,’ 1958, vintage silver print, 39.7 x 29.7 cm, signed and annotated by the photographer in pencil on the reverse. Estimate: 5,000 – 6,000 euros. Westlicht image.

Thomas Hoepker (* 1936), 'Muhammad Ali,' Chicago, 1966, vintage silver print, comes with two signed and stamped iris prints,  27.5 x 20.8 cm, signed by the photographer in pencil on the reverse. Estimate: 15,000 - 18,000 euros. Westlicht image.

Thomas Hoepker (* 1936), ‘Muhammad Ali,’ Chicago, 1966, vintage silver print, comes with two signed and stamped iris prints, 27.5 x 20.8 cm, signed by the photographer in pencil on the reverse. Estimate: 15,000 – 18,000 euros. Westlicht image.

Ara Güler (* 1928), 'Henri Cartier-Bresson with Leica M3,' 1964, gelatin silver print, printed 2013, 55 x 44 cm. Unique print, signed by the photographer in pencil in the margin. Estimate: 10,000 - 12,000 euros. Westlicht image.

Ara Güler (* 1928), ‘Henri Cartier-Bresson with Leica M3,’ 1964, gelatin silver print, printed 2013, 55 x 44 cm. Unique print, signed by the photographer in pencil in the margin. Estimate: 10,000 – 12,000 euros. Westlicht image.

Henri Cartier-Bresson (1908–2004) ‘Behind the Gare Saint-Lazare,’ Paris, 1932, gelatin silver print, printed 1990s, 35.7 x 24.1 cm, signed by the photographer in ink in the margin, his copyright blindstamp in the margin lower left. Estimate:  8,000 - 10,000 euros. Westlicht image.

Henri Cartier-Bresson (1908–2004) ‘Behind the Gare Saint-Lazare,’ Paris, 1932, gelatin silver print, printed 1990s, 35.7 x 24.1 cm, signed by the photographer in ink in the margin, his copyright blindstamp in the margin lower left. Estimate: 8,000 – 10,000 euros. Westlicht image.

Hagerstown celebrates 275th anniversary of founder’s home

Hager House in Hagerstown, Md., is on the National Register of Historic Places. Image by Acroterion. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
Hager House in Hagerstown, Md., is on the National Register of Historic Places. Image by Acroterion. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
Hager House in Hagerstown, Md., is on the National Register of Historic Places. Image by Acroterion. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

HAGERSTOWN, Md. (AP) – This year marks 275 years since Jonathan Hager purchased land just three years after arriving in the new colonies in an area that would eventually become Hagerstown, and the Jonathan Hager House and Museum at City Park is scheduled to host at least one event each month this summer to celebrate.

Restoring the garden around the Hager House, commemorating the effects of the Civil War on the house and having living historians re-enact what it might have been like in the house in the 18th century are just some of the activities planned.

The house, which Hager presented to his wife, Elizabeth Kershner, after it was constructed on the 200 acres of land he purchased for 44 pounds on June 5, 1739, already played host to German Easter tours in April and hosted a Museum Ramble May 2-4.

“The Hager House is the jewel of the park, and I think we’re excited to be able to have a lot of members of the community coming together to help us celebrate,” City of Hagerstown Recreation Coordinator Amy Riley said. “We’ve been reaching out to a lot of different groups and individuals who are excited to be a part of the celebration.”

The official celebration of the anniversary will be Sept. 20 from noon to 4 p.m., Riley said. It will include living-history volunteers, and tours and activities happening on the ground.

She added that the event also coincides with the unveiling of the new bear sculpture going on City Park Lake.

“We’re going to be celebrating as a whole different activities in the park surrounding the bear sculpture, and we thought it was appropriate to incorporate the celebration of the 275th of the Hager House because we’re already going to be marketing the significance of the events on Sept. 20, and we anticipate a lot of folks coming to the park,” she said. “We wanted give a lot of recognition to the celebration for the 275th, and we wanted to have some special tours going on that day.”

The Washington County Historical Society said volunteers will be provided in the different rooms of the Hager House that day to show activities that might have happened during that period. Someone also will portray Hager.

“We’re going to be bringing history to life with our volunteers,” Riley said.

Music on the porch is scheduled at the house next Saturday, May 17, and teatime on the porch is scheduled for June 20 and 21. On July 25 and 26 and Aug. 8, there will be ghost tours of the house. A commemoration of the 150th anniversary of the Ransom at Hagerstown and the effects the Civil War had on the house will be held there July 25 and 26 as well, and a garden preview and open house is scheduled for Aug. 22 and 23.

After Sept. 20, ghost tours are scheduled for Oct. 10 to 12 and 17 to 19, and German Christmas tours are scheduled for Dec. 5 to 7 and 12 to 14.

The garden preview and open house is being held because workers are trying to restore the garden around it, Hager House caretaker Emily Conrad said.

“The house was built over a freshwater spring, so the soil is naturally rich with minerals and likely would’ve had a flourishing garden in colonial times and pre-Revolutionary times as well,” she said. “We hope to bring that to life as well.”

Conrad said the gardens had a lot to do with medicine out “on the frontier.”

“It was really up to each individual household to care for each other, so we’re trying to restore the gardens,” she said. “We’ll also have an 18th-century physician interpreter on-site to help out with some of the tours and information for that.”

Because July 6 marks 150 years since the city was held for ransom during the Civil War, Conrad said the events scheduled for July 25 and 26 will involve recognizing the war’s effects on the city.

“We hope to honor that era and also what we know about the folks who lived at the house at that time, and the effect the war had on the City of Hagerstown,” she said. “It was a pretty traumatic time.”

While living at the Hager House, which was named “Hager’s Fancy,” Hager opened a trading post within his home and continued to acquire land, according to the City of Hagerstown’s website at www.hagerstownmd.org. Conrad noted that the house could have been where Hager laid out his plans for the City of Hagerstown, which he founded in 1762 and originally named Elizabethtowne, in honor of his wife.

She also said that during that time, there were towpaths on places such as Virginia Avenue, which was a trading route for Native Americans.

“Few towns that are older than the country itself can boast the home of their founding father,” Conrad said. “Hagerstown is proud to be one of those very few cities in America, and we’re proud to share the heritage of the early founders of the area.”

Hager sold the property to Jacob Rohrer in 1745, and it stayed within the family until 1944, when the Washington County Historical Society acquired it, restored it and presented it to the city in 1954. The home was opened to the public in 1962.

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Information from: The Herald-Mail of Hagerstown, Md., http://www.herald-mail.com

Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-05-11-14 1432GMT


ADDITIONAL IMAGE OF NOTE


Hager House in Hagerstown, Md., is on the National Register of Historic Places. Image by Acroterion. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
Hager House in Hagerstown, Md., is on the National Register of Historic Places. Image by Acroterion. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

British museum launches online archive of WWI stories

British World War I poster: 'Women are Working Day and Night to Win the War '/ Witherby & Co. London. Image courtesy Wikimedia Commons.
British World War I poster: 'Women are Working Day and Night to Win the War '/ Witherby & Co. London. Image courtesy Wikimedia Commons.
British World War I poster: ‘Women are Working Day and Night to Win the War ‘/ Witherby & Co. London. Image courtesy Wikimedia Commons.

LONDON (AFP) – Museum curators made a global appeal Monday for photos and stories about the millions who fought for the British empire in World War I as they launched an ambitious new digital memorial.

The Imperial War Museum in London has put the records of 4.5 million men and more than 40,000 women who served with the British army overseas on a new website, “Lives of the First World War.”

But many of the records are just names and the museum wants members of the public to add their own pictures and memories to provide a comprehensive picture of what life was like during the 1914-18 war.

Over the next four years, during the course of the centenary of World War I, the museum hopes to put details of about 8 million people online.

The records of almost 17,000 conscientious objectors will be included, as will those of people who contributed to the war effort in their home countries.

“Everybody can contribute to “Lives of the First World War,” whether they choose to simply remember someone online, upload a picture from their family album, share a story passed down through generations, or connect official records to build a full and factual picture of what happened to that person throughout the war,” said Luke Smith, who is leading the project at the museum.

Richard Grayson, chairman of the museum’s Digital Projects Academic Advisory Group, said the website was “an exceptional opportunity for the public and academics to work together in writing new histories of the war.”

“The public will bring expertise and energy to the study of the war, and have much to contribute to uncovering lost histories, especially of local communities,” he said.

The Imperial War Museum was set up in 1917 as a way of helping future generations understand the work and sacrifice of those involved in the ongoing conflict.

It intends to preserve the digital archive, accessible at livesofthefirstworldwar.org, as a free research tool.


ADDITIONAL IMAGE OF NOTE


British World War I poster: 'Women are Working Day and Night to Win the War '/ Witherby & Co. London. Image courtesy Wikimedia Commons.
British World War I poster: ‘Women are Working Day and Night to Win the War ‘/ Witherby & Co. London. Image courtesy Wikimedia Commons.

Appraisers Association seminar on today in NYC

Leila Dunbar, Leila Dunbar, AAA, owner and president of Leila Dunbar Appraisals and Consulting LLC, will moderate the panel at the May 12 event.
Leila Dunbar, Leila Dunbar, AAA, owner and president of Leila Dunbar Appraisals and Consulting LLC, will moderate the panel at the May 12 event.
Leila Dunbar, Leila Dunbar, AAA, owner and president of Leila Dunbar Appraisals and Consulting LLC, will moderate the panel at the May 12 event.

NEW YORK – The Appraisers Association of America brings a superstar lineup to New York on Monday, May 12th to discuss “Advanced Issues in Appraising.” It is the third installment in an ongoing series and will take place at Herrick Feinstein LLP, 2 Park Ave., New York, NY 10016.

Panelists include moderator and panelist, Leila Dunbar, AAA, owner and president of Leila Dunbar Appraisals and Consulting LLC, specializing in collectibles and memorabilia; Jannette M. Barth, Ph.D., economist and managing director, Pepacton Institute LLC; Sylvia Leonard Wolf, AAA, president, Sylvia Leonard Wolf Inc., specializing in American and European Furniture and Decorative Arts; and Louis Tuchman, partner and co-chair, Tax Group, Herrick Feinstein, LLP.

These dynamic speakers will address several of the more complicated situations appraisers face. Topics include: appraising without obvious comparables and general pitfalls that occur when indirect comps are used; the mechanics of calculating blockage and determining when it is necessary to hire an economist as opposed to calculating blockage themselves, best and worst case scenarios related to unusual appraisals for tax purposes, and creative solutions for unique appraisals.

Registration for the event costs $85 for AAA/ISA/ASA/RICS members or $125 for general admission. Members who attend will receive four continuing education credits. A recorded video version will be available after the program, as well.

Space is limited, so those with an interest in attending are encourage to sign up online without delay at www.appraisersassociation.org. Tel. 212-889-5404, ext. 11; email programs@appraisersassociation.org.

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ADDITIONAL IMAGE OF NOTE


Leila Dunbar, Leila Dunbar, AAA, owner and president of Leila Dunbar Appraisals and Consulting LLC, will moderate the panel at the May 12 event.
Leila Dunbar, Leila Dunbar, AAA, owner and president of Leila Dunbar Appraisals and Consulting LLC, will moderate the panel at the May 12 event.

National Gallery of Art reveals Degas, Cassatt’s interaction

Mary Cassatt, 'Little Girl in a Blue Armchair,' 1878, oil on canvas. National Gallery of Art, Washington. Collection of Mr. and Mrs. Paul Mellon.
Mary Cassatt, 'Little Girl in a Blue Armchair,' 1878, oil on canvas. National Gallery of Art, Washington. Collection of Mr. and Mrs. Paul Mellon.
Mary Cassatt, ‘Little Girl in a Blue Armchair,’ 1878, oil on canvas. National Gallery of Art, Washington. Collection of Mr. and Mrs. Paul Mellon.

WASHINGTON (AP) – Works by Edgar Degas and Mary Cassatt usually reside in separate French and American wings of an art museum, and rarely ever do their paintings hang together.

Now the National Gallery of Art is studying how these impressionists influenced each other while working in Paris and how Cassatt introduced Degas to American audiences. A new show “Degas/Cassatt” opened Sunday as the first major exhibition to explore their relationship.

With little documentation left to research the interaction, curators carefully analyzed several artworks to reveal the artists’ collaboration and used technology to gain a clearer view. During an extensive cleaning and analysis of Cassatt’s painting Little Girl in a Blue Armchair, the museum used x-rays and infrared imagery to reveal changes Degas made under the surface of Cassatt’s picture.

Conservators found brushstrokes true to Degas’ style and a change in the orientation of Cassatt’s picture. She almost always used a straight horizon line in her paintings, but Degas used strong diagonals. Infrared imagery revealed Degas had drawn a diagonal line on Cassatt’s canvas to suggest a change.

“We learned a lot more about the relationship between the two artists,” said conservator Ann Hoenigswald. “He wasn’t going to just finish her painting. I think he really respected her so much that he could say, ‘um, I think this is going to work, it’s going to expand the sense of space, and now you finish.’”

Infrared imagery also showed Cassatt tried moving a dog in the picture to the floor but changed her mind and painted over it.

Cassatt later wrote about her work with Degas. “I had done the child in the armchair, and he found it to be good and advised me on the background, he even worked on the background,” she wrote. But curators knew little more until now.

As a serious artist, Cassatt was frustrated when people thought she was Degas’ student or protege, Curator Kimberly Jones said. It was an inevitable conclusion at the time because she was a younger woman.

“I hope this exhibition will confirm that they really were peers,” Jones said. “They were colleagues, and it was a level playing field between them. He might have had more experience, but she was a fast learner.”

Degas’ influence on Cassatt is widely known in the art world, but Cassatt’s role in shaping Degas’ work has been more of a mystery. The best example is in their experimentation with metallic pigments and different materials, Jones said.

Degas saw Cassatt introduce gold or bronze materials into her paintings and decided to try it himself for his Portrait After a Costume Ball (Portrait of Mme Dietz-Monnin).

“I think it’s just a fantastic back and forth,” Hoenigswald said.

It was a moment of intense collaboration and experimentation around 1879 for the two artists, and then they moved on to other pursuits, Jones said.

Later Cassatt would write to American collectors about how only those with the most discriminating taste would appreciate works by her and Degas – a subtle marketing of the impressionists.

“Degas/Cassatt” will be on view in Washington through Oct. 5.

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AP-WF-05-09-14 1311GMT


ADDITIONAL IMAGE OF NOTE


Mary Cassatt, 'Little Girl in a Blue Armchair,' 1878, oil on canvas. National Gallery of Art, Washington. Collection of Mr. and Mrs. Paul Mellon.
Mary Cassatt, ‘Little Girl in a Blue Armchair,’ 1878, oil on canvas. National Gallery of Art, Washington. Collection of Mr. and Mrs. Paul Mellon.

Library destroyed in Bosnian war reopens after 22 years

National library of Bosnia-Herzegovina at night. Image by Natalino7. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

National library of Bosnia-Herzegovina at night. Image by Natalino7. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
National library of Bosnia-Herzegovina at night. Image by Natalino7. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
SARAJEVO, Bosnia-Herzegovina (AP) – Sarajevo reopened Friday its reconstructed National Library building 22 years after the city landmark was destroyed during the Bosnian war along with its almost 2 million books and manuscripts.

The reopening comes in time for the June ceremonies marking the centenary of the assassination that ignited World War I.

City authorities plan to have the Vienna Philharmonic Orchestra perform inside the building on June 28, marking 100 years since Austro-Hungarian Crown Prince Franz Ferdinand von Habsburg walked out of the building and was shot dead by a Serb.

It took architects and builders 18 years to find documents and photos on the building’s 19th-century construction and put it back together the way it was before Serb shelling destroyed the landmark in 1992.

The building had no military significance and the library ruin turned into a symbol of what Sarajevans called “urbicide” – a term they used to describe primitive attackers destroying cultural achievements.

The repainting of 2,000 square meters (21,530 square feet) of arabesques on walls and ceilings took a year.

The reconstruction represents a victory “of life over death” and a proper answer “to those who thought they could burn libraries, kill people and destroy cities,” Bosnian President Bakir Izetbegovic said.

The library served first as the city hall when it was originally built 118 years ago by the Austro-Hungarian Empire in pseudo-Moorish style to reflect the multicultural character of a city in which the East and the West coexist.

The European Union contributed more than half of the reconstruction cost of more than 16 million euros ($22.05 million).

“This is about restoring the densely woven intellectual tapestry of our continent – a tapestry of diverse cultures and beliefs and peoples,” said Bosnia’s international administrator, Austrian diplomat Valentin Inzko.

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AP-WF-05-09-14 1934GMT


ADDITIONAL IMAGE OF NOTE


National library of Bosnia-Herzegovina at night. Image by Natalino7. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
National library of Bosnia-Herzegovina at night. Image by Natalino7. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

Santa Monica Auctions to mark 30th anniversary with June 8 sale

Jasper Johns, Untitled, 1977, lithograph from edition of 53. Signed and numbered in pencil on recto, chopmark on recto. Size 39.5 x 27 inches. Estimate: $25,000-$30,000. Image courtesy Santa Monica Auctions

Jasper Johns, Untitled, 1977, lithograph from edition of 53. Signed and numbered in pencil on recto, chopmark on recto. Size 39.5 x 27 inches. Estimate: $25,000-$30,000. Image courtesy Santa Monica Auctions
Jasper Johns, Untitled, 1977, lithograph from edition of 53. Signed and numbered in pencil on recto, chopmark on recto. Size 39.5 x 27 inches. Estimate: $25,000-$30,000. Image courtesy Santa Monica Auctions
SANTA MONICA, Calif. – Modern and contemporary art specialist Santa Monica Auctions will soon be celebrating a milestone – its 30th anniversary. To mark the occasion, the independently owned and operated gallery located at Bergamot Station Arts Center will host a June 8 auction with Internet live bidding through LiveAuctioneers.

Among the highlights of the sale are an untitled 1977 Jasper Johns lithograph from an edition of 53, artist-signed and numbered, and estimated at $25,000-$30,000. Jeff Koons’ Balloon Dog (Red), a 1995 painted and chromed porcelain work from an edition of 2,300 will be offered, as well as a Carlos Almaraz oil on canvas, and an Ed Moses Krojib acrylic on canvas executed in 2001.

The possible star of the show is a 1991 untitled graffiti wall by renowed street artist Barry McGee. Comprised of six wood panels with spray paint, the artwork was commissioned for the Yerba Buena Museum of Art in San Francisco. It measures an impressive 96 x 252 inches and is expected to make $60,000-$80,000.

Watch for the online catalog to publish later this month on LiveAuctioneers.

Visit Santa Monica Auctions online at www.smauctions.com.

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ADDITIONAL IMAGES OF NOTE


Jasper Johns, Untitled, 1977, lithograph from edition of 53. Signed and numbered in pencil on recto, chopmark on recto. Size 39.5 x 27 inches. Estimate: $25,000-$30,000. Image courtesy Santa Monica Auctions
Jasper Johns, Untitled, 1977, lithograph from edition of 53. Signed and numbered in pencil on recto, chopmark on recto. Size 39.5 x 27 inches. Estimate: $25,000-$30,000. Image courtesy Santa Monica Auctions
Barry McGee, Untitled (Graffiti Wall), 1991, 6 wood panels with spray paint. Commissioned for the Yerba Buena Museum of Art, San Francisco. Overall image: 96 x 252 inches. Estimate: $60,000-$80,000. Image courtesy Santa Monica Auctions
Barry McGee, Untitled (Graffiti Wall), 1991, 6 wood panels with spray paint. Commissioned for the Yerba Buena Museum of Art, San Francisco. Overall image: 96 x 252 inches. Estimate: $60,000-$80,000. Image courtesy Santa Monica Auctions

Cameras installed to monitor Father Marquette statue

Statue of Father Jacques Marquette in Marquette, Mich. Image by Einar Einarsson Kvaran. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

Statue of Father Jacques Marquette in Marquette, Mich. Image by Einar Einarsson Kvaran. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
Statue of Father Jacques Marquette in Marquette, Mich. Image by Einar Einarsson Kvaran. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
MARQUETTE, Mich. (AP) – Officials have installed security cameras in hopes of preventing further vandalism of the Father Marquette statue in the Upper Peninsula city.

The Mining Journal of Marquette reported Saturday that two cameras have been placed on the Lake Superior Community Partnership building along Front Street. The cameras cost $2,000.

The statue has been at its current site for about a century. It first was erected in Marquette in 1897.

Someone put red paint on the statue in November 2012. After several months of restoration, green paint was found on it last June.

Father Jacques Marquette was a Jesuit explorer. He served as a missionary in the region and was believed to have camped near modern day Marquette while mapping Lake Superior in 1669.

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Information from: The Mining Journal, http://www.miningjournal.net

Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-05-10-14 1940GMT


ADDITIONAL IMAGE OF NOTE


Statue of Father Jacques Marquette in Marquette, Mich. Image by Einar Einarsson Kvaran. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.